unlearing dance

First of all, what does it mean to unlearn? Does it involve forgetting the specific knowledge and embracing an openness of not knowing? But what if this knowledge appears not only inform of mental convictions, but also lies deep within our bodies? What if it shapes our entire worldview and determines the way we perform, think, and talk about dance? The “Unlearning Dance” workshop is almost a therapeutic exploration of our beliefs about dance and our connection with the knowledge stored in our bodies. Ieva and Indrė, sharing their own bits of research, invite participants of all backgrounds— whether they areprofessionals, amateurs, or non-dancers— to rethink and rediscover their personal relationship with dance. Each participant begins their journey by reflecting on how their relationship has evolved over the years and how it has reached its current state. This isfollowed by a collective exploration of the stereotypes, myths, and impressions surrounding the dance world. Finally, a safe space is created for meditating on the questions raised earlier. Participants are invited to explore without any rush or pressure to find the answers, allowing themselves to be carried away by movement. American neuroscientist Andrew Huberman has pointed out that the most effective learningrequires reaching a state of frustration. It is through mistakes and discrepancies that newneural connections are formed, fostering brain plasticity. In this case unlearning, as the opposite process, would require the releasing of frustration accumulated during the learning. This is similar to therapy, where a patient is asked to recall an emotionally charged memory and then develop a more desirable approach to it. What was dance to you in your childhood? What is it now? What would you like it to be? Unlearning is the process of raising these questions that may seem too simple, broad or perhaps even too complicated. It is a practice of liberating oneself from the knowledge as areflex, intentionally using, transforming and abandoning habits. For some, it might requireresisting the effort to perform, appear in a certain way or to reach specific standards. For others, it could involve consciously choosing to fall into and out of movement patterns. And, indeed, for everyone, it serves as a reminder that dance is also a mode of being in movement- relating with oneself and others, as well as interacting with space and time. Simply being in dance, with your own library of movements and ideas opens up new perspectives. What those perspectives might bring is only a matter of one’s own ability to move with childlike curiosity, maintaining an open mind in spite of the knowledge already stored in the body.

Miglė Markulytė